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Victoria's Secret brought some extra sparkle to its runway on Sunday night.
The brand's annual fashion show, which returned in 2024 after being canceled five years earlier, was held in Los Angeles, with models including Adriana Lima and Barbara Palvin donning their wings for the occasion.
Since making its comeback, the fashion show has been more than a spectacle for Victoria's Secret. It's also been a way to attract a new generation of shoppers by leaning into nostalgia. Elizabeth Preis, Victoria's Secret's chief marketing officer, previously told Fast Company that the show was about "brand consideration for the audience that doesn't currently shop with us."
This year, the brand ramped up its social media promotion and made 17 times as many runway items available to purchase, Barron's reported.
The 2026 show also brought back a symbol of Victoria's Secret's heyday: the Fantasy Bra, an elaborate piece of lingerie often worth millions that hadn't appeared on the runway since 2018.
Kylie Jenner modeled the bra for its comeback. Designed by Jacob & Co., it's the most expensive Fantasy Bra ever created at $50 million.
Take a look back at other Fantasy Bras Victoria's Secret has designed over the years.
Evan Agostini/Getty Images
Worn by Claudia Schiffer, the diamond-encrusted lingerie was dubbed the "Million Dollar Miracle Bra."
It was modeled for the Victoria's Secret catalog and advertisements, such as the massive one displayed in New York City.
Ron Galella/Getty Images
The "Diamond Dream Bra" was much more understated than the original. It was crafted from white satin, lined with diamonds, and had one 42-carat teardrop gem hanging from its center.
Though the bra cost $3 million, it was never modeled on the Victoria's Secret Fashion Show runway — only by Banks at a private event held later.
DMIPhoto/Stringer/Getty Images
The ruby-covered bra and matching panties modeled by Bündchen for a catalog were the most expensive lingerie set created by Victoria's Secret at the time, costing $15 million when they were designed.
Kevin Mazur/Getty Images
Called the "Heavenly Star Fantasy Bra," the sparkling white piece was decorated with 1,200 Sri Lankan pink sapphires, 2,300 round white diamonds arranged in a wave pattern, and a 90-carat diamond at the center.
It cost $12.5 million on its own, making it the most expensive bra in the world at the time, according to the Guinness World Records. It was also the first Fantasy Bra modeled during a televised Victoria's Secret Fashion Show.
Kevin Mazur/Getty Images
The $10 million piece had a floral theme, with 1,150 rubies in the shape of roses, 1,600 emeralds arranged like leaves, and diamonds forming smaller flowers around them.
Like its predecessor, this Fantasy Bra also featured a massive diamond in its center — this one a 60-carat Mouawad Mondera stone.
Kevin Mazur/Getty Images
Dubbed the "Very Sexy Fantasy Bra," the 2003 design was a chainmail-style piece made from a mix of 2,809 white diamonds, yellow-orange sapphires, rhodolites, and amethysts.
It also featured the Mouawad Excelsior Diamond —a 69-carat piece cut from the second-largest diamond in the world — hanging from its center.
Likely because it was see-through, Klum modeled it on the runway over a standard red bra.
Jamie McCarthy/Getty Images
Modeled by Gisele Bündchen, the see-through piece cost $12.5 million and was crafted from 22 rubies and 2,900 pavé-set diamonds in a floral pattern.
Hanging from its middle strap was the 101-carat Mouawad Splendor Diamond pendant.
Thomas Concordia/Stringer/Getty Images
The "Hearts on Fire Fantasy Bra" was one of the most dazzling ever seen on the Victoria's Secret runway.
Valued at $6.5 million, the silver bra was covered in tiny diamonds from its straps to its cups. It also had two thin straps in the middle, with a 10-carat flower-shaped pendant hanging from them.
Gabriel Bouys/Getty Images
The diamond-covered, $4.5 million "Very Sexy Holiday" bra — modeled by Selita Ebanks — stood out thanks to the rubies, emeralds, and yellow sapphires arranged in the shape of holly across its cups.
Its Mouawad gems totaled 1,662.51 carats.
AP Photo/Evan Agostini
Adriana Lima modeled the $5 million "Black Diamond Fantasy Miracle Bra."
It was covered in black diamonds and had strings of rubies and white diamonds across it, for a total of 3,900 gems.
George Napolitano/Getty Images
The black "Harlequin Fantasy Bra" modeled by Marisa Miller was lined with white diamonds and decorated with brown gems in crisscross patterns — the work of Italian jeweler Damiani.
The $3 million piece also included a 16-carat heart-shaped diamond hanging from its center.
Slaven Vlasic/Stringer/Getty Images
Lima modeled the "Bombshell Fantasy Bra," a $2 million semi-sheer garment set with 3,000 diamonds, sapphires, and topaz stones, in shapes inspired by stars and constellations.
It took 1,500 hours for Damiani to create the piece.
Timothy A. Clary/Getty Images
Modeled by Miranda Kerr, the $2.5 million bra — designed by London Jewelers of New York — was covered in a mix of 3,400 diamonds, citrines, aquamarines, and pearls, the latter of which were also strung in rows beneath its cups.
Like other Fantasy Bras before it, the 2011 piece featured massive white and yellow diamonds, each weighing around 8 carats, that hung from its center.
Antonio de Moraes Barros Filho/Getty Images
Another London Jewelers of New York creation, the peach-colored bra was valued at $2.5 million.
It had amethysts, sapphires, rubies, and diamonds in the shape of flowers set in 18-karat pink and yellow gold, as well as a 20-carat radiant-cut diamond hanging from a sparkling pendant.
Dimitrios Kambouris/Getty Images
Designed by Mouawad, the "Royal Fantasy Bra" featured 5,400 multicolored gems — a mix of diamonds, rubies, and sapphires — and 18-karat yellow gold.
Its center stone, adorned with a diamond bow, was a 52-carat pear-shaped ruby.
Michael Stewart/Getty Images
Crafted over 1,380 hours by Mouawad artists, the "Dream Angels Fantasy Bras" stood out in 2014 thanks to an array of diamonds, rubies, sapphires, and multicolored gems over 18-karat gold.
Adriana Lima modeled the blue version, and Alessandra Ambrosio modeled the red. Each cost $2 million.
Taylor Hill/Getty Images
Called the "Fireworks Fantasy Bra," the $2 million piece was covered in 6,808 gemstones.
White diamonds covered its cups, while multicolored sapphires, garnets, amethysts, topazes, tourmalines, peridots, quartzes, citrines, and tsavorites were used to create the firework-esque swirls across them.
Martin Bureau/Getty Images
Created over 700 hours by Aziz and Walid Mouzannar, the $3 million bra was one of the most luxurious ever made for the Victoria's Secret Fashion Show.
The geometric piece featured 9,000 round-cut diamonds and emeralds in clusters, creating a cutout effect across its cups.
Dimitrios Kambouris/Getty Images
This $2 million piece was created with 6,000 white diamonds, yellow sapphires, and blue topazes.
While the bra featured a signature stone hanging from its center — a giant blue topaz — its golden collar with a second loose gem was unique.
Michael Stewart/Getty Images
Designed by Atelier Swarovski, the $1 million "Dream Angels Fantasy Bra" was a netted bralette covered in 2,100 tiny diamonds.
It also had diamond-encrusted rope straps and a matching body chain that sat across it.
Kevin Mazur/Getty Images for Victoria's Secret
Jenner walked the runway in the much-anticipated bra, designed by Jacob Arabo of Jacob & Co., to the cheers of Kris Jenner and Timothée Chalamet.
Arabo said ahead of the show that it was his goal to create "the most expensive Fantasy Bra ever made," and he delivered.
The bra was made entirely of diamonds and gold, unlike bras from past years that had a fabric base. It was made of 4,410 diamonds in total, including a 75.54-carat Natural Fancy Vivid Yellow diamond hanging from the center, as Victoria's Secret shared on Instagram after the show.
The 2026 Fantasy Bra took over 1,000 hours to make and is worth a whopping $50 million.
Frazer Harrison/Getty Images
Los Angeles lived up to its "city of angels" nickname over the weekend.
The Victoria's Secret Fashion Show went to the West Coast this year and was hosted at Sony Pictures Studios on Sunday night. Gigi Hadid, Candice Swanepoel, and other iconic models all hit the runway.
Of course, there were lots of lingerie and athleisure looks on the red carpet, too.
Still, you might not have caught some of the night's best details — like the significance of certain outfits and the celebrities who made surprise appearances.
Here's what you might have missed.
Dimitrios Kambouris/Getty Images
For the first time since 2018, Victoria's Secret sent a Fantasy Bra down the runway at its famed fashion show.
It collaborated with jewelers Jacob and Co. to create the one-of-a-kind piece, which took over 1,000 hours and 15 artisans to make.
On Instagram, Jacob and Co. said the bra features 4,410 diamonds totaling 1,373 carats. One of those is the brand's 75.54-carat natural Fancy Vivid Yellow diamond, which hangs in the middle of the bra.
It's valued at $50 million, which makes it the most expensive Fantasy Bra ever shown on the Victoria's Secret runway.
It was also a massive surprise that Jenner, 29, who never previously walked for Victoria's Secret, had the honor of wearing the special piece. It's usually reserved for veteran models of the show.
Gilbert Flores/Variety/Getty Images
Palvin walked her fifth Victoria's Secret Fashion Show on Sunday — and it was one of her most impressive appearances.
The 33-year-old model delivered her first child, a son, six weeks earlier, as she and her husband Dylan Sprouse announced on Instagram in September.
Backstage at the show, Palvin told People that it was "empowering" to walk the runway, but also "not that big of a deal."
"I'm going to be six weeks postpartum tomorrow, which I think in the US most people have to go back after six weeks," she told the publication.
It's also not the first time Palvin has walked the runway after a major health event. In 2025, her husband revealed that she'd broken her foot four weeks earlier and still walked the runway in heels.
Kevin Mazur/Getty Images
The former "Suite Life of Zack and Cody" actor, who married Palvin in 2023, was seen in videos applauding and cheering for his wife as she walked the runway.
He's made memorable appearances at past Victoria's Secret shows as well, including one time in 2018 when he brought burgers to the model backstage after the show.
Dimitrios Kambouris/Getty Images
You couldn't miss Lima as she walked the runway in a lime-green, lace one-piece with a plunging neckline and waist cutouts. She also wore green sandals, jewelry, and a pink floral back piece.
The 45-year-old model first walked for the brand in 1999 and was named an Angel in 2000. She's since walked while pregnant, and in three different Fantasy Bras.
Though she technically retired from the show in 2018, Lima returned when the Victoria's Secret Fashion Show made its comeback in 2024.
Dimitrios Kambouris/Getty Images
Hosk, 37, stepped onto the runway wearing a sheer, beige bodysuit and massive Angel wings made from brown feathers and flowing gold fabric.
On Instagram, the model confirmed they were the biggest wings worn on the 2026 runway.
"Thank you for trusting me and letting this new mama walk with the most gorgeous and biggest wings of the show," she wrote across an Instagram story.
Hosk gave birth to her second child, a daughter, at the end of July.
Michael Buckner/WWD via Getty Images
Barbara Palvin is getting praise for walking the Victoria's Secret fashion show in lingerie six weeks postpartum, but she doesn't want it.
In multiple interviews, the Hungarian-born model downplayed the feat, saying it's common for new mothers in the US to be back at work within a similar timeframe.
"In the US, maternity leave is six to eight weeks. I'm six weeks tomorrow, so nothing major here. I'm just doing what every woman does in America," the 33-year-old told USA Today backstage at the fashion show, which took place in Los Angeles on October 18.
"And I only have to walk down a runway," Palvin told Page Six.
In 2025, the US was the only country among the 38 OECD countries, including the UK, Australia, and Japan, to have no national paid maternity leave, according to the OECD Family Database.
New mothers in the US are entitled to up to 12 weeks of unpaid, job-protected leave under the Family and Medical Leave Act, but they must meet certain eligibility criteria. The new mother must have worked for their employer for at least 12 months, worked at least 1,250 hours in the previous 12 months, and their employer must have 50 or more employees within 75 miles of their job site.
Federal workers are generally entitled to 12 weeks of paid leave, but private companies are not legally required to pay employees on parental leave. Some states, including California, New York, Massachusetts, Minnesota, and Maine, have paid family leave programs, but the majority don't.
Data released this year from the Federal Reserve Bank of Minneapolis suggests mothers in the US took an average of 7.2 weeks off to care for a new child.
Frazer Harrison/Getty Images for Victoria's Secret
Palvin, who has been married to actor Dylan Sprouse since July 2023, gave birth to her first child, a girl called Sylvie, on September 7.
Palvin was named a Victoria's Secret Angel in 2019. She first walked the Victoria's Secret fashion show in 2012. At the 2025 Victoria's Secret fashion show, Sprouse told reporters that Palvin had broken her foot four weeks earlier and was walking the runway with a "half-healed foot."
The first Victoria's Secret Fashion Show took place at The Plaza Hotel in New York City in 1995. It was broadcast online for the first time in 1999, and was so popular that the host site crashed.
Assista ao vivo o show convocado por Caetano Veloso para a defesa da democracia
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Truman Dickerson
At 9 p.m. on a recent Friday night, Max Harding had just returned from a barefoot run in the woods.
The eccentric 20-year-old Californian was back in a large barn in rural Pennsylvania — still barefoot — alternatively working on his startup and asking me about the point of life.
Though not an especially adept programmer, Harding possesses a more adroit, perhaps unteachable skill that has never been more valuable in the current landscape of founder culture.
"Max captures the attention of the camera, keeps us center stage," said his cofounder, Skyler Ji, who added that Harding's role includes "spreading our philosophy" while he runs the operation behind the scenes.
"Max brings some of the grander things," Ji told me. The pair's startup, Hivemind Research, aims to build "digital brains" in the form of social media.
Harding and Ji were among 66 mostly young, mostly imaginative startup founders taking part in a two-week "incubator" workshop called Launchpad.
The novel event was hosted by Stan, the company behind a moderately successful platform for independent creators to advertise and sell their services. At the last meetup Stan organized, startup founders jet-skied the East River at golden hour.
At the incubator event, the entirety of which was filmed for use in a reality show that Stan plans to release sometime soon (though it is uploading Instagram clips daily), magnetic personalities were among the most valuable commodities.
Max Harding
Stan cofounder Vitalii Dodonov told me that the 30 participating teams were chosen from a pool of 700 applicants, primarily for their existing social media followings and their ability to grow them.
"It's not the building that gets you to revenue, it's the distribution," he said of today's startup culture.
Of the many metrics competing teams were required to meet daily (10 sales calls, for example), social media videos were among the most heavily weighted.
Everywhere I looked, people were talking about their companies into phones attached to tripods. Their products ran the gamut of usefulness — ranging from an AI facial scanner that tracks acne to an AI app that connects parents with babysitters.
Truman Dickerson
Dodonov and John Hu, Stan's other cofounder, were trailed at all times by multi-person film crews, who glared should you emit an ill-timed sound while the cameras rolled. (The Velcro rip of my messenger bag earned me some leers.)
Even outfits were choreographed. On the advice of the camera crews, Hu wore a "cream" colored getup while Dodonov donned a "charcoal" number to emphasize what was described to me as the "yin and yang" paradigm between the two.
I spent about 16 cumulative hours at the event over two days earlier this month, at Stan's invitation. I ate meals with the founders, did a 7:30 a.m. cold plunge in the on-site lake alongside a Danish guy selling an AI to-do list, and commiserated with the startup founders who routinely pulled all-nighters to hit their metrics.
Truman Dickerson
Here's what I learned from the experience.
The event was billed as a sort of reality-TV-style game show-slash-incubator in the vein of hits like "Love Island" and "Squid Game."
As in those shows, founder teams at Launchpad were subject to firepit eliminations, discreet alliances, and competitive drama under the ever-watchful lenses of dozens of expensive cameras.
Except instead of a bunch of promiscuous co-eds doing risque challenges on a tropical island somewhere, contestants at Launchpad were mostly tech geeks with an unhealthy number of hours notched building software on their MacBooks.
"There's no sex," laughed Jacob Snarr, a 24-year-old from Philadelphia. "Nobody here is thinking about that."
Snarr and his cofounder, RJ McLaughlin, built a web browser game that lets friends debate their tastes and preferences, from their favorite foods to other everyday questions. The pair enlisted me as a product tester one morning, and we debated the merits of empanadas in the chilly barn.
McLaughlin and Snarr were in second place on the leaderboard when I talked to them on Saturday morning — saving them from elimination.
Rey Mendoza, who at 41 was one of the oldest founders in the competition, had already been eliminated. When I spoke with him, he was fighting for a chance at redemption. He showed me his sleep tracker for the six days. He hadn't slept more than six hours a night.
Truman Dickerson
"Here, you're just fucking building, like 24/7," Mendoza, fatigued, said reverently.
Event organizers added a number of less-intense, more fun-oriented events to the schedule, which were largely ignored by teams scrambling to upload more videos to social media.
A "Mario Kart" meetup in a room adjoining the cafeteria was attended by precisely nobody. Two TVs showed the game's start screen, while maybe a dozen people sat at tables squinting at laptops.
It's hard to imagine binge-watching some 60 sweatshirt-clad nerds drearily prompting chatbots to refine source code for yet another quirky AI startup. After all, everyone and their cousin is vibe coding their way into progressively nicher business models these days.
In 2025, a record number of business applications — about 5.7 million — were submitted by Americans, according to census data. However, the number of businesses the government estimates will be successful enough to require employees actually declined.
Those kinds of numbers mean it takes more to stand out. In our interview, Hu pointed at my phone and said I could use AI tools to start three or four businesses today — but, of course, they likely wouldn't be profitable.
That, Hu said, is where the founders' personalities are supposed to come in, together with a bit of manufactured drama and endless streams of social media content.
In the first challenge of the event, held on the first day, for example, teams were required to submit one social media video for public review around the firepit. Then, in front of everyone, Hu tore into them.
"I was very honest," he said of one particular "roast" that produced tears from the submitters. "I was like, 'Guys, would anyone ever watch this? No. The answer is no, because of the quality — you never have a shot."
The moment would certainly make for good television. It also, Hu told me, mimicked the real-life struggle inherent in starting a company in a saturated market.
"They're going through the true ups and downs of a true cofounder relationship and a startup experience," he said of the team that was subjected to his roast, who were initially so dejected they discussed "breaking up."
Overall, most of the teams I talked to said they enjoyed the ramshackle experience of trying to make a company profitable in two weeks. At the very least, it was all happening in a picturesque setting.
Truman Dickerson
Stan spared no expense to pull off the event.
It was held at a luxury, 400-acre villa two hours north of New York City that has in the past hosted retreats for high-flying companies like J.P. Morgan, whose executives, according to one staff member at the retreat at least, are keen for employees to embrace buzzwords like "team-building" and "company culture" among the illusion of rustic calm far from Manhattan.
We were in the sticks of eastern Pennsylvania — so deep in the woods, in fact, that cell service was nonexistent. There was fiber-optic internet, however, and the setting, though far-flung, could hardly be called rustic.
A squadron of golf carts staffed by the venue's seasonal workforce, many of whom were from Ireland or Australia, patrolled the grounds.
I was personally given the cellphone number of one such seasonal worker and encouraged to notify her anytime I wanted to go anywhere, at which point she would materialize with the golf cart.
Dodonov told me that Stan spent a combined $3 million renting the place for two weeks, booking camera crews, and making other necessary arrangements to host the founders, some of whom had traveled from as far away as Spain and Denmark.
For a company whose cofounder told Business Insider this year that it has an annual recurring revenue of "nearly $41 million," that's a significant sum.
"It's a very expensive experiment," Dodonov said. He said that, in his view, the return on investment is to see if "the playbook works" — the playbook being his and Hu's belief that building a successful company requires, perhaps above all, promoting yourself on social media.
"Anyone can systematically establish and build support through the power of content," Dodonov said.
Fluente nos ritmos das décadas de 1970 e 1980, o guitarrista teve um desempenho vitorioso na atração exibida pelo canal público e mereceu a conquista da disputa que é celebrada nesse especial dedicado a sua jornada na produção.
Pedro Hills encarou Roger Oliveira logo na primeira batalha do programa no estilo rock clássico. O folk e o sertanejo embalaram a disputa com André Sampaio na segunda rodada da fase classificatória do programa.
Sobre a estratégia, Pedro Hills considera sempre o inesperado. "Você planeja algumas coisas, mas, de repente, na hora, tem que modificar a estratégia por causa da dificuldade aleatória. Não estava preparado para esse desafio, mas eu tive que criar alternativas", destaca Pedro Hills sobre o ritmo sertanejo.
"Eu me inspirei bastante nas questões do banjo, por mais que eu estivesse na guitarra. Com menos duas cordas é a mesma coisa que dirigir um carro sem a primeira e a segunda marcha. Você tem que arrancar de terceira. Eu fiquei surpreso com o que eu consegui desenvolver ali na hora", completa o artista.
O programa foi liderado por Pedro Hills na etapa inicial com 69 pontos. Na vice-liderança, Lucas Mosca obteve 67,5. Na sequência, o reality trouxe Lui Rabello com 62,5 e Roger Oliveira com 61,5. O experiente André Sampaio, com 58,5 pontos, e a guitarrista Gabi Terra, com 57,5, deixaram o confronto, mas permaneceram na casa para apoiar os colegas.
"Estou feliz novamente em ter essa segunda chance e dialogar com as guitarras", pontua Pedro Hills sobre a classificação para as semifinais. O participante voltou a enfrentar o amigo Roger Oliveira. A dupla que realizou o primeiro desafio da produção Duelo de Guitarras definiu uma vaga na final. Cada um escolheu um ritmo para mostrar que merecia estar na decisão do reality.
O reencontro dos guitarristas no palco da atração foi emocionante. Pedro Hills e Roger Oliveira ganham mentoria direta e individual com os jurados Navalha Carrera e João Gaspar. Os concorrentes solaram em dois ritmos escolhidos por eles mesmos.
Para a performance da disputa, Pedro Hills optou pelo blues. "Escolhi pela afinidade. É um privilégio ter a mentoria, um momento só nosso com o João e a Navalha", comenta o candidato pela oportunidade da mentoria exclusiva. Já Roger Oliveira decidiu propor bossa e jazz
O vencedor da primeira fase do reality show gostou do seu desempenho no duelo decisivo das semifinais do programa. "Só penso em botar a energia pra fora no momento. É coração. Fiquei feliz com o que consegui entregar", pondera.
Na decisão contra Lucas Moscardini pelo título da competição de melhor guitarrista no primeiro reality da televisão brasileira dedicado ao instrumento, Pedro Hills e o adversário deveriam escolher gêneros que eles ainda não tocaram durante a produção.
Pedro decidiu incluir o xote e o baião no duelo decisivo, enquanto Mosca optou pelo rock clássico. Uma surpresa: os finalistas vão precisar tocar com o tom diferente das bases utilizadas pelos concorrentes no decorrer do reality. Os guitarristas tiveram pouco tempo para criar seus solos e vão ter que se superar.
Antes da disputa, Pedro Hills e Lucas Moscardini comentaram o convívio e a expectativa para a prova decisiva. "Espero levar com a maior naturalidade possível, apesar de ser um momento tenso. Estou muito feliz de tocar com o Mosca. Gostei bastante dele como pessoa e guitarrista. As palavras que me definem agora são felicidade e gratidão", opina Pedro.
A alteração de tom para a final surpreendeu os concorrentes. "A gente escutou muito essas bases para estudar. Nós imaginamos soluções para determinadas bases. Agora, vamos ter que desconstruir e tentar usar o novo tom. O desafio foi transpor algumas ideias que estava na cabeça e utilizar outros artifícios para superar a situação", explica.
Sobre o programa
Formado por 16 episódios, o reality show musical Duelo de Guitarras promove disputas entre seis artistas que tocam estilos diversos em busca da premiação na guitarra elétrica. O novo formato foi criado pelo produtor Julio Carvana com o diretor Marcio Vianna, que assina o roteiro. O programa inédito na telinha é conduzido pelo apresentador Dimi, guitarrista e entusiasta do instrumento.
No papel dos jurados, a produção convidou duas figuras com grande destaque no cenário brasileiro, virtuoses na guitarra com grande domínio dos estilos musicais e muito conhecimento sobre a história de cada ritmo: Navalha Carrera e João Gaspar. Eles atuam como mentores dos seis participantes.
O primeiro critério considerado pelos jurados é a técnica e a precisão, com valor de 5 e 10 pontos. Depois, eles também avaliam a emoção e a criatividade com a mesma pontuação. Durante o programa, os competidores comentam as apresentações dos colegas e manifestam suas impressões. Os próprios participantes também analisam seu desempenho no palco.
Pedro Hills - Roqueiro clássico, fã dos grupos da década de 1960 e 1970, participa de uma banda com o irmão.
Roger Oliveira - Carioca do subúrbio, começou tocando na Igreja e mostra versatilidade nos ritmos.
Gabi Terra - Capixaba que tem um trabalho autoral forte, com sonoridades experimentais.
André Sampaio - Ex-guitarrista da consagrada banda Ponto de Equilíbrio, experiente em ritmos africanos e não convencionais.
Lui Rabello - Baiana foi integrante por 16 anos da Banda Altas Horas, do programa homônimo e, com isso, ganhou muita agilidade para improvisar e encontrar sua expressão em qualquer ritmo.
Lucas Moscardini - Metaleiro moderno, capaz de executar centenas de notas precisas por segundo e de tirar muita emoção da guitarra.
Dinâmica da atração
O sexteto convive numa casa equipada com um estúdio de gravação e com áreas para conversar, ensaiar e criar. Os guitarristas participam de uma vivência artística com direito a workshops ministrados por experientes profissionais.
Durante todo o processo, os guitarristas eliminados seguem na casa e no convívio diário de atividades para apoiar os finalistas, torcer pelos colegas e mostrar também o seu talento em jams e ensaios descontraídos.
Muito mais que uma competição, Duelo de Guitarras é um reality inovador em que o aprendizado e a criação artística convidam o público a conhecer mais sobre os ritmos e sobre o instrumento, além de poder acompanhar os músicos cheios de personalidade e talento. De acordo com o apresentador Dimi, "essa é uma competição onde um guitarrista vence, mas ninguém sai perdendo".
Os artistas têm tempo livre durante as gravações e, entre outras convivências, decidiram reformar uma guitarra antiga que estava na casa apenas como objeto cenográfico, revelando também essa competência. As ações foram gravadas e entraram na edição do programa.
Os competidores puderam, um de cada vez, tocar com o veterano Victor Biglione na sua visita ao reality. O resultado foi um dia de solos que passam por todos os ritmos abordados na temporada, com muita emoção compartilhada pelo sexteto.
Para trazer mais diversão e transformar o reality num jogo lúdico, diversas dificuldades aleatórias são sorteadas pelos participantes, tirando cada um deles da sua zona de conforto e convidando-os a mergulhar no universo do improviso. Entre as surpresas do jogo estão desafios como executar o solo sem uma palheta ou apenas com parte das cordas da guitarra, por exemplo.
O resultado é uma viagem musical com muito aprendizado para quem participa e também para quem assiste, porque são apresentadas, numa linguagem simples e popular, as nuances do instrumento e os caminhos da criação artística.
Conteúdo independente
O reality show Duelo de Guitarras ganha exibição semanal inédita na programação da TV Brasil desde o início de julho. O programa foi realizado por meio do Prodav. A emissora pública é um dos canais que mais apresenta produções independentes nacionais. Além de ser uma grande apoiadora das obras dessa natureza no mercado audiovisual do país, a TV Brasil ainda fomenta novos realizadores.
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The arrangement, confirmed on 12 October, follows months of negotiations between Brussels and Beijing and reflects growing concern about the competitive position of European carmakers.
The import ceiling could reduce Chinese hybrid vehicle sales in the EU by more than half compared with previously anticipated volumes, although the actual effect will depend on demand, product classifications and implementation.
The agreement comes as manufacturers gather for the Paris Motor Show, where the future of European vehicle production, Chinese competition and industrial policy have become central subjects.
China’s Commerce Ministry has presented the outcome as a negotiated arrangement intended to preserve trading relations, while the European side has emphasised the need to prevent rapidly increasing imports from undermining domestic production.
Chinese carmakers have expanded aggressively in overseas markets as domestic demand has weakened. Chinese passenger vehicle exports rose sharply in September, with manufacturers increasingly targeting Europe, Latin America and Asian markets.
Hybrid vehicles have become particularly important because they offer consumers lower fuel consumption without requiring the same degree of dependence on charging infrastructure as fully electric cars.
This has allowed Chinese brands to compete in market segments where European manufacturers retain substantial established production capacity.
The new quota limits the number of eligible Chinese hybrid vehicles permitted to enter the European market each year. According to details of the import restrictions, shipments exceeding the permitted volume would face restrictions at EU customs.
The mechanism differs from a conventional tariff because imports beyond the ceiling cannot simply enter the market by paying a higher duty. Manufacturers and importers will need to consider both delivery costs and the availability of import allocations.
The measures arrive amid growing pressure on the European automotive industry, which faces high production costs, expensive energy, competition from Chinese manufacturers and the capital requirements of shifting towards electrified transport.
Companies operating in Germany, France, Italy and other established manufacturing centres must fund the development of new vehicles while maintaining existing factories and employment.
Chinese manufacturers benefit from extensive domestic production networks, considerable scale and access to battery manufacturing capacity.
European policymakers have questioned whether competition takes place under equivalent economic conditions, particularly where Chinese producers receive support from state-directed industrial policies.
Beijing rejects allegations that its export performance results principally from unfair state assistance, arguing that Chinese companies have achieved competitiveness through investment, innovation and efficiency.
The quota represents a departure from the assumption that European consumers will necessarily have unrestricted access to the lowest-priced imported vehicles.
Its economic effects will depend partly on whether European manufacturers can use the additional protection to improve productivity and develop more competitive models.
Restrictions on imports do not necessarily reduce the presence of Chinese-owned companies in the European automotive industry.
Several manufacturers are already developing production capacity outside China, including within the European Union. BYD’s investment in Hungary is one example of how Chinese companies can pursue access to European consumers through local manufacturing rather than relying entirely on imported finished vehicles.
The new arrangements could strengthen the commercial incentive to expand such operations.
For European governments, Chinese investment presents a difficult calculation. New factories may create employment, increase industrial activity and preserve automotive supply chains, while also expanding the influence of Chinese manufacturers within Europe’s domestic market.
The economic consequences depend on how much research, component manufacturing, battery production and other high-value activity takes place locally.
A Chinese-owned assembly plant using predominantly imported components would provide different benefits from a fully developed European production network.
The debate is also drawing attention to the position of the United Kingdom, whose automotive industry remains closely integrated with European supply chains despite Brexit.
Executives from Stellantis and Renault have supported including Britain within proposed European industrial protection measures, reflecting the importance of UK manufacturing operations to their broader businesses.
Such an arrangement would raise questions about regulatory alignment, trade preferences and the conditions under which non-EU production could qualify for European industrial support.
British manufacturers also face the challenge of Chinese competition, and decisions taken in Brussels could influence investment strategies across the wider European automotive sector.
The restrictions may offer European manufacturers additional time to adapt, but they do not eliminate the structural challenges confronting the industry.
Energy prices, labour costs, the availability of batteries and the affordability of new vehicles remain important factors in the competitiveness of European production.
Nor will the quota necessarily prevent Chinese firms from gaining market share through investment, partnerships or vehicles manufactured outside China.
The EU’s approach combines restrictions on imports with the possibility of continued Chinese industrial participation inside Europe.
The outcome will depend on whether European manufacturers use the reduced competitive pressure to strengthen their technological and manufacturing position, or whether the restrictions primarily accelerate the relocation of Chinese-owned production into the EU.
A Phantom F-4 fighter jet of the Greek Air Force crashed during the air show of the Athens Flying Week in Tanagra north-western Athens at noon on Saturday, September 5, 2026. +++ One hour after the crash and it is still not known whether the pilot and the co-pilot survived the crash. +++ It is […]
The post Two pilots killed as Phantom F-4 jet crashes during Athens Flying Week (VIDEO) appeared first on Keep Talking Greece.
At a conformation show, purebred dogs are evaluated by judges according to written documents that strive to capture the exemplary features of each breed. (These standards are searchable via the American Kennel Club; my dog’s breed standard, for instance, is “interested and even mischievous” in expression, but might be faulted for a “short, prancing, or choppy gait.” Noted.) Hannah Berger files a remarkably observed dispatch from one such show in Virginia, where she has traveled to consider show dogs as signifiers, “the ideal against its approximation.” There’s plenty of human folly here, not limited to the interpretation of a “breed standard” and its pursuit over time. A janitor ceaselessly sweeps away dog hair; a mother silences her child as one might a yapping pet. Berger layers her observations into an ending so clever that I gasped.
Now under the jurisdiction of the American Kennel Club in the U.S., conformation shows measure the degree to which a dog “conforms” to its “breed standard,” a document that transmutes historical function into superficially measurable and marketable qualities: proportions, attitude, gaiting patterns. These documents vary widely in length and style. The greyhound’s standard, for example, is a spare two-hundred-word document that strays from sobriety just once in its description of the eyes: “dark, bright, intelligent, indicating spirit.” The standard of the Coton de Tulear, the bichon-like “national dog” of Madagascar, is nearly eight times as long, describing colors and shapes in percentages and angles. Its “joie de vivre” is mentioned twice.
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